Church of ss. name of Jesus

In this area at the end of the Middle Ages lived the local and Turin bourgeoisie, it was close to the ancient dwelling circle, in which it entered only through doors with heavy flying, at the crossroads of the ancient entrances to the east of the country, in the ancient Canton of Albretta.
The church was designed by the Brotherhood linked to the devotion of the Most Holy Name of Jesus (preached in Piedmont from San Bernardino da Siena in 1414 and active in Pianezza until 1950), when in 1660 the marquis Carlo Emanuele Filiberto Giacinto di Simiana, local lord, prompt for the union of the parish of Saint Peter and that of Saint Paul. The "Batùs" (so called the confreres, stemming from the fact that at that time they were usually scourged, battling, as a prayer of extreme devotion) did not like the downgrading of a secondary church of St. Peter, so they built their own church. The construction began in 1680 and ended in 1682, during the Baroque period, using recovered materials. Armonically well-built boasts a parapan facade lightened by a tripartite window with two columns. Two tombstones bear the date 1682, the monogram of the Name of Jesus and the date 1843, the year of a church reconstruction.
The bell tower completed in 1730, is the highest in the country. The church has a single nave interrupted by two side chapels, one dedicated to the “Madonna Consolata” and the other to St. Joseph. The barrel vault is completely frescoed. The wall supported by the main altar separates the presbytery from a large choir, now set up as a winter chapel.
The entrance door, restored in 2006, is externally in national sculptured and carved walnut wood, and internally of poplar wood. On the stone threshold, to the left near the jamb, you can notice a slightly hollowed-out area of circular shape inside which there would be a lead pipe walled in place on the day of dedication, containing a maple with the date of the first stone laying and the blessing of Pope Innocent XI (oral source of the deceased sacristan Mario Frigati).
The visitor entering will cross the compass, carved walnut and sculptured in an elegant and sober baroque style. The chorus and organ grandstand, polychrome wood featuring the symbols of musical art, overhangs the entrance. The cane organ with a bellows device dates back to 1885, is attributed to the Collino brothers of Turin. The church has valuable paintings and sculptures dating back to 1700.
More than in details it is in the harmony of the whole that the devotee, or the observant visitor, finds the atmosphere suitable for prayer and reflection.